This article proposes a dis-centered and contingent approach to the world as basis to think about world literature. In this frame, the construction of a French significant by Latin American modernists is described, a universal Paris from which they will articulate themselves as a marginal particularity. In opposition to such artefact, the article discusses the world imaginary in the experimental novel L'Homme de la pampa (1923), by French-Uruguayan writer Jules Supervielle, whose identity adscription is doubly interstitial: never assimilated to French surrealism and kept at distance in Uruguay. Supervielle's world is dislocated and heterogeneous, without stable formations and, therefore, resistant to the fetishization of cultural difference, including that which is built upon Latin American difference.